A relic30. It may tell us something of what the past was like, yet it generally contradicts any feeling that it could possibly have been used by someone really alive." He nodded at the shoe in my hands. "But that's a shoe a living person could own. We had to create it, though." I nodded; it wasn't hard to see a young girl sitting on the edge of her bed pulling this on, buttoning it, then admiring it as she revolved31 her foot on her ankle to make the new leather catch the light. During several days Martin and I sat leafing through books whose pages had gone brown and whose covers were sometimes speckled with mildew32. As you turned the pages, corners flaked33 off; only a ghost could ever have read these. Then, from a box, Martin brought out the same books, identical except that now their covers were bright new reds, blues34, and greens, their titles fresh-stamped in shining gold leaf, their pages pure white, the fresh black print still smelling of ink. Obviously these had never been read—not yet. And in my mind the eighties had begun to stir a little with life. Rube was in the cafeteria lineup one noon, and he joined Martin and me for lunch. Then, during the rest of that afternoon, he took me into every office, into the carpentry and metal work shop, a small library, the conference room, the tailor's and shoemaker's shop, the control room for the Big Floor, a tiny projection35 room, and into every other place in the building where people were working; and he introduced me to them all. I met Peter Marple, a young designer for the project, formerly36 a set designer in the New York theater, and a good one; I'd seen several plays of his, it turned out. I met Larry McDermott, the project photographer, who'd occasionally done work for an ad agency I'd once been with. I met technicians, stenographers, engineers, an accountant. I met an associate professor of history from the University of California, and people whose work wasn't mentioned; Rube referred to one of them as "our chief briber," at which the man just grinned. Except for the two already out on the floor—John McNaughton in the Vermont house, and George Wing, a Crow Indian and former chief petty officer who was living in the tepee I'd seen—I also met my fellow candidates. One was the man I'd seen studying medieval French; we had a mutual37 friend whose first name neither of us could recall. Another was Miss Eileen Jorgensen, a thin, anxious-looking young mathematics teacher from Lincoln, Nebraska, who began studying turn-of-the-century San Francisco in the classroom next to mine. And I met the good-looking Charleston girl and the man I'd watched practicing with a rubber bayonet. In a corridor walking toward the elevator, Rube said, "We made a mistake with that pair. They started having coffee together in the cafeteria, then lunch together, then meeting outside. Now, of course, all they're interested in is each other. They'll be getting married soon, and I suppose that's great. But we're not running a lonely-hearts club, and no one gives either of them much chance of succeeding anymore. So we've locked the barn door, and now the rule is: Pass the time of day with the other candidates when you see them around, but no fraternizing; okay?" "Sure, as long as I'm too late for the Charleston girl." We rode down in the elevator—it was ten after five—and walked across town together, stopping in at the Algonquin for a drink.
I spent an hour, one morning, in Doc Rossoff's office, while he taught me the technique of self-hypnosis. It was surprisingly easy; at least the technique was. He had me sit down in his big green-leather easy chair and get comfortable. He said, "Close your eyes if you like, though it's not necessary." I closed them. "Now, just silently tell yourself that you are becoming more and more comfortable, more and more relaxed in body and mind both. And let it become true. Then tell yourself that you are slowly, gradually, moving into trance. A light trance, fully38 awake and aware. Don't let the word 'trance' bother you; it's simply a convenient term for a state of somewhat advanced receptiveness to suggestion; nothing mysterious about it. Presently, when you feel you've achieved it, tell yourself in so many words that you are under self-hypnosis. Then test it: Tell yourself that you are temporarily unable to lift your arm. Try it, and if you really can't lift your arm you're in trance. Make any self-hypnotic suggestion you wish, then. If you had a headache, for example, you'd tell yourself you were going to count to five, and that your headache would have faded away before you finished. Or you can blank out thoughts, emotions, memories, and make them return later by posthypnotic suggestion. Okay? It's really a remarkable39 tool." I nodded, and he left me, to try it out. I did what he'd said, and felt myself grow wonderfully relaxed and comfortable. Presently I told myself I was gradually moving into light trance, and it seemed to me I could feel it happening. Sitting there, motionless, almost drowsy40, I told myself that I could not lift my arm, that it was powerless to move. Then, my eyes on my coat sleeve, I tried to lift my arm, and almost hit myself in the eye as it popped right up. I tried again, taking more time, feeling every muscle relax; and the only part of me that didn't know I was in hypnosis was my arm; up it came every time like an eager but stupid dog who doesn't quite understand the trick. Doc came back presently, listened, and told me to practice at home, preferably when I was actually tired and sleepy. One morning Martin Lastvogel had a screen pulled down across the blackboard at the front of the classroom, a slide projector41 on a stand at the back. We sat side by side, Martin with a remote-control gadget42 in his hand. He clicked it, the air fan of the projector started up, and a round-cornered square of white light, fuzzed at the edges, filled most of the screen. Another click, and the square turned into a sharp-focused black-and-white drawing, an old-fashioned woodcut. It was a street scene, a busy one—of the eighties, I supposed; there were carriages, wagons43, pedestrians45. It was well done—the artist a good draftsman—but in a style that hasn't been used for half a century. "Done directly from a photograph, very likely," Martin said quietly; unconsciously he'd dropped his voice as people do in the dark. "A lot of illustrative woodcuts were copied from photos, before photoengraving. If so, you're looking at what could be an absolutely accurate representation of an actual moment. That's what it did convey to someone of the time. With the help of that woodcut in his weekly picture magazine, a man of the eighties could visualize46 the scene." This was my own field, and I said, "But it's not how we convey reality. Reminds me of Japanese art, the perspective flat, and even Westerners' eyes slanted47. To us his drawing is unreal, but to his own audience—""Right. Supply your own lecture, and do me out of a job. I've got a family to support, you know. Okay; we gave a copy of that cut, and a batch48 of others, to Sidney Urquhart. You know him?" "I've seen his work: street scenes, city scenes. Watercolors, mostly. He's pretty good." "He knows how to tell you what a city is like; you think he succeeded here?" Martin clicked his control, and a Sidney Urquhart that I wanted to own filled the screen. It was the scene we'd just looked at, detail for detail. And it was also a drawing. But this was in color, the pen-and-ink outlines filled in with brushed-on india inks in strong shades. It was the scene but impressionistic; the thing moved. What I'd so often tried to do staring at Katie'sstereosc(same) ope views, he'd got down on paper; the carriage horses were really trotting49, the dray horses beside them sweaty and straining with effort. Carriage wheels were revolving50, the spokes52 catching53 the light, and a mustached man dodging54 through the traffic was darting55, his feet nimble and busy; you saw it. As Urquhart's sketch56 flashed onto the screen there was an instant when I was standing on the curb57 watching the scene and it was almost real. Martin's control clicked, the screen went white and empty, another click and the big square was a sepia photograph: Two women in long dresses and big hats were walking, their backs to the camera, down a wide sidewalk shaded by immense trees; one of them carried an open umbrella against the sun. To their left lay a grassy58 parkway in which great trees grew, shadowing the street; to their right, long sloping lawns. Beyond the parkway lay the shade-dappled street, empty except for an open buggy, its horse tethered to a hitching59 post. It was a good moment; the photographer had caught a nice scene. Sitting in the semidarkness studying it, I could believe—I knew—that it had once really happened. But it was frozen in time, infinitely60 remote, and the two women up there were never going to take the next step. A double click, and Sidney Urquhart's glimpse of the same moment filled the screen in color. It was only a sketch now, an impression, but the women's next step was imminent61. They were really walking, then-bodies flowing into the next step, feet just lifting from the last one, and you knew that up out of sight the leaves of those trees were stirring and that the women, if somehow you could strain enough to hear, were quietly talking. We spent all that morning looking at, first, a drawing or photograph of the early eighties, then a "translation," which was Martin's term, and a good one, by Urquhart, Karl Morse, Murray Sidorfsky, or someone else. Not all of them succeeded, and some only partly. But some of them worked, and I'd suddenly experience the thrill of glimpsing the actuality of a moment of the past. Long before we were finished I knew I could do the same thing. I didn't need Urquhart now or anyone else; I, too, could look at an old cut or photograph and do the work of getting myself into and fully perceiving it until I found and touched the long-ago realness that had produced it. I could do it as well now as the makers62 of most of the new drawings I'd seen up there on the screen— better, I thought. Whether I could show it as well, whether I was artist enough, I wasn't sure; I doubted it. But I knew I could do it in my mind.
Walking to the cafeteria for lunch, I said so to Martin, and he nodded. "It's how we hoped you'd feel; Rossoff predicted it. But you won't have much time for actually sketching63, and the point of this morning was to give you a head start; we've got a lot of stuff for you to study and translate for yourself." I spent three days then, alone with the projector looking at scene after scene of the eighties, staring, working at finding the actuality that lay under the surface of each, gaining experience and speed as the time passed. At four o'clock one afternoon, in the tailor's workroom, I was measured from head to foot. Then I stood in my socks, holding a pail of sand in each hand, while a bootmaker traced the outlines of my feet. During most of one week Martin lectured from file-card notes. What was the population of the United States in 1880? he asked me for a starter. I cut our present population in half and said a hundred million, but Martin told me to cut it in half again; there were only fifty million Americans then, most of them living east of the Mississippi. In the West, buffalo64 still roamed the open prairie, the new transcontinental railway was a national marvel9 and excitement in a way that even space travel isn't today, and Indians were still scalping Whitey. It was a very different country and world; there were animals alive that are now extinct, and social systems, too; Europe was full of kings, queens, emperors, czars and czarinas then, and they weren't figureheads, they ruled. Martin talked about how the world traveled and moved its goods. There were steamships65, and the railroad was decades old. But just the same, cargo66 vessels67 still moved largely by sail and most of the world traveled as it always had, on foot or by horse. Most people in America lived and died in the state or even the town they'd been born in; more people traveled across the ocean than across the country. Yet different as the world of the eighties was, Martin said, it was closer to ours than it seemed; walking through that horse-and-buggy United States, Lee De Forest was a nine-year-old boy already thinking about the problems involved in the invention of radio, sound movies, and television. At the end of one day, waiting at the elevator with me, Martin said, "It's a hell of a different world, Si, but it isn't alien to this, and I think you could be at home in it." Kate thought my collar-length hair and my new brown beard—I'd begun trimming it—made me particularly handsome, and I agreed. She'd begun helping68 me with my homework at night now. I'd taken her to lunch one day, at a Madison Avenue restaurant, inviting69 Rube and Dr. Danziger, and they'd liked her. Katie is attractive, physically70 and personally; she's intelligent, tactful, and can be witty71 if she's in the mood; she has charm. And after that, they let her visit the project; Dr. Danziger himself showed her the Big Floor, then his secretary showed her through most of the rest of the project. I wasn't along; I was too busy with Martin Lastvogel. So now, in a sense, Kate was fully in on the project, and on more nights than not, usually at her place though sometimes at mine, she drilled me on facts from Martin's lectures, using his notes. And she worked with me on getting the feel of the eighties from the photographs and woodcuts I brought home. One Saturday morning I took her to the project and showed her the reconstructed dresses, hats, gloves, and shoes of the period, and she was fascinated, wishing she could try an outfit72 on. She was a big help, and I think she speeded up the learning process for me.
Martin thought so anyway. And she was a tremendous help with the self-hypnosis technique; Kate got it right away just from my description of how you were supposed to do it. That made me realize it was really possible, and from Kate's description I got an idea of the actual feel of slipping into "trance." So that one night at her place, sitting in her antique rocker, a very comfortable chair actually, I made it: My arm genuinely would not, could not, move, and I sat staring at it, fascinated. I told myself then that it was now free to move, tried it, and it did. Now I told myself that I would forget my own street address and stay in trance until Kate spoke51. Then I sat there trying to recall my address, and it simply wasn't there to remember; it was both fascinating and a little frightening. I looked over at Kate who was reading through some of Martin's notes, and she happened to look up at the same time. She smiled and said, "Any luck?" and I knew my own address just as always, and could feel that I was out of trance. "Yeah, finally," I said. Then we spent an hour studying samples of money; coins of the sixties, seventies, and early eighties, including gold pieces; big old bank notes issued by local banks pretty much in their own designs and actually signed by the bank presidents; and the ones I liked best of all, gold certificates redeemable73 not in silver but in gold and printed on the backs in an orange-colored ink suggesting gold. Once in a while Kate and I did other things: took a drive on a weekend, took a walk, even saw some friends. And one night—Kate and I had been seeing almost too much of each other, I felt, and I think she did, too—I phoned Matt Flax, but got no answer. Kate was going to iron, wash her hair, that sort of thing, and get to bed early. But I felt restless, and I phoned Lennie, and then Vince Mandel, who lived in town, but got no answers. So I stayed home and read, deliberately74 getting my mind off the project in a one-night vacation from it. In my living room I sat reading a one-volume complete Sherlock Holmes which I generally picked up whenever I had nothing else to read. At Dr. Danziger's request I'd quit reading newspapers, magazines, and modern novels; I'd also unplugged the television and my radio, no hardship. Every day at the project I sat listening to Martin, a clipboard in my lap, and I spent part of one afternoon tasting food. That was after lunch, which I'd skipped at Martin's request, and the cafeteria was empty except for the fat middle-aged75 cook, Dr. Rossoff, and me. First the cook brought in a plate of mutton, potatoes and beets76, all boiled, and set it down in front of me. Rossoff sat across from me, and the cook stood beside the table, both watching me, and grinning a little. I ate a little of each of the things on the plate, tasting, staring off into space like a wine connoisseur77. I'd never had mutton before, and didn't know what to expect; it seemed all right. But the potatoes and beets tasted—not quite the way they should have. I chewed away, trying to figure out the difference, and pretty soon Rossoff said, "Well?" I swallowed, and said, "They're better, they taste better. They have more flavor than I'm used to." They both grinned some more, and Rossoff said, "Vegetables were grown in the eighties without chemical fertilizers, insecticides, or special treatments before planting. Also, no preservatives78 or additives79." The cook said, "And they were boiled in chlorine-free water."I had some fudge made with sugar refined in a way I didn't follow, it tasted about like any other. I had a small piece of longhorn steak, tougher and distinctly different in taste from any other I'd ever had. I had some marvelous ice cream made with unpasteurized cream. And I had a straight shot of whiskey, especially distilled80 for me; rough, raw, and powerful. And then one night I had supper at home, washed the dishes, and threw out everything in the refrigerator that wasn't canned or bottled. Then I sat down at a card table in my living room, and wrote a note or postcard to everyone I knew who might wonder about me. The work wasn't going very well here in New York, I said in each of them; and this was January 4th, a new year, so I'd bought an old station wagon44 on impulse, packed, and was leaving in the morning before I could change my mind. I was just going to tour around, I didn't really know where—I might head for one of the Western states—drawing, sketching, and taking reference photographs as I went. I'd write when I could, I said, and would be in touch when I got back. I didn't like doing it this way but I knew I wasn't up to convincingly answering questions if I tried doing it in person or by phone. I mailed my cards and notes on Lexington Avenue, a block from my apartment. I dropped them into the box, then stood looking around for a moment at New York in the second half of the twentieth century. But there wasn't much to see besides the walls of the buildings around me, a long stretch of asphalt on which only a single cab was moving and a fragment of gray-black sky directly overhead too hazed81 for any stars to be visible. The day's car-exhaust seemed to have settled down here and was making my eyes smart; it had turned cold; and half a block down the cross street, on the corner of which I was standing, a group of young Negroes was walking toward Lex, so I didn't hang around to encounter them and explain how fond I'd always been of Martin Luther King. I walked on, up Lexington and then across town toward the warehouse82; I felt tired, a little sleepy, yet so excited I was conscious of the beat of my heart. At ten minutes after one in the morning, an hour and a half later, we left the warehouse; Rube had his car, a squat83 little red MG sedan, parked in the street at the side door. He drove, Doc Rossoff sat on the outside, and I was more or less hidden between them wearing Doc's raincoat over the costume I'd put on at the warehouse, though I tried not to think of it as a costume. No need to hide my long hair and beard, of course. I like New York late at night, most places closed and dark, the streets as nearly empty of movement and as quiet as they ever get. We could hear the sound of our own tires on the asphalt, and at Amsterdam Avenue, waiting for a light, I heard someone cough half a block or more away. We didn't talk to amount to anything; we crossed Broadway, stopped for another light at Columbus, and Rube said, "Funny-looking dog," nodding toward a woman walking a clipped poodle in a jeweled dog-coat. A block or so further on Oscar Rossoff pointed84 at a darkened restaurant and said, "Good seafood85 there." I don't recall saying anything, but I yawned a lot from nervousness. Rossoff understood the reason, glancing at me occasionally to smile.
Rube parked a dozen yards from the Dakota's main entrance; he held out his hand to me, and I took it. All he said was "Good luck, Si; I wish it were me." Rossoff had his door open, and he stepped out, and I slid across the seat to follow him. The uniformed doorman was expecting us; he simply nodded and we walked on past him, under the great main arch, then on across the courtyard; the two huge green-bronze fountains were empty. We climbed the wide old staircase in the northeast corner of the Dakota, meeting no one, stepping out onto the seventh floor; my apartment was a few doors off, and I brought out my key. "My coat, Si," Oscar said, and I took off the raincoat and handed it to him. "Want to come in?" I said, but he shook his head; he was staring at my clothes, then he lifted his eyes to stare at my hair and mustache as though he'd never seen them; he seemed suddenly awed86. "No," he said, "I don't think anything of the present belongs in there now, Si." He held out his hand. "Good luck. You know what to do when you're ready." We shook hands, then I walked to my door, slid my key into the lock, and turned the big ornamented87 brass knob; the door swung soundlessly back its hinges though it were weightless,butIcouldsenseitssolidity.Iturnedtosayafinal(on) goodbye,butD(as) oc Rossoff was down the hall, just turning onto the stairway again; he turned to glance back at me, then he was gone. I walked in, closing the door behind me, my eyes widening, accustoming88 themselves to the faint light from the tall rectangles of the windows. I knew the layout and appearance of the apartment; I'd been here with Dr. Danziger and Rube the day it was completed. Now I walked over to one of the windows, stopped, and stood looking down onto the pale curves and jumbled89 shadows that were the paths and greenery of Central Park under the moon. Directly below my window if I'd cared to lean forward and look straight down, I knew I could have seen the street, Central Park West, and its traffic lights and occasional cars. Far across the park, if I'd lifted my eyes to look, I could have seen a few still-lighted windows in the block-after-block row of great apartment houses bordering Central Park's eastern side. By turning my head to the right, I could have seen the rooftop neon of the hotels at the southern end of the park, and the lights of the great midtown office buildings beyond. But I looked at none of these. Instead I stared down into the shadows of Central Park, and almost directly ahead the moon shone on the surface of the lake just as it must have, I thought, on another such night when the building I stood in was new. On the curved roads of the park widely spaced streetlamps burned, each with a nimbus of late-at-night mist, and it seemed to me that from here they couldn't look very different, if at all, from the way they had looked long ago. There was a heavy green window shade, I knew, and in the darkness I pulled it down, then drew the velvet drapes. I did this with each of the other windows, then brought a matchbox from my pocket. I struck a match on the sole of my boot, it spluttered, then caught and burned steadily90, the wax running thinly down its stem. Cupping the flame with my other hand, I lifted it to an L-shaped ornamented brass tube projecting from the wall. Fastened to the short arm of the tube was a bracket on which a flowered glass shade was fitted; a key-shaped brass handle projected from theunderside of the tube. I turned it, heard the soft hiss91 of gas, then touched my lighted match to the open end of the tube. A wedge of blue-edged flame popped into existence under the glass shade, and a wavering circle of flowered gray carpet appeared at my feet, then steadied. I looked at the room and its furnishings for only a moment or so. It was approaching two in the morning, two o'clock in the morning of January 5, 1882, I said to myself, suddenly realizing that the experiment had actually begun. But I was tired, empty of all energy now, and my hand still on the fixture92, I turned the light out, then walked down the hall to my bedroom.
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1
dummies
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| n.仿制品( dummy的名词复数 )；橡皮奶头；笨蛋；假传球 | |
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hem
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| n.贴边，镶边；vt.缝贴边；(in)包围，限制 | |
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peek
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| vi.偷看，窥视；n.偷偷的一看，一瞥 | |
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instructor
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| n.指导者，教员，教练 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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briefcase
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| n.手提箱，公事皮包 | |
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straps
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| n.带子( strap的名词复数 )；挎带；肩带；背带v.用皮带捆扎( strap的第三人称单数 )；用皮带抽打；包扎；给…打绷带 | |
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homely
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| adj.家常的，简朴的；不漂亮的 | |
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marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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poke
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| n.刺，戳，袋；vt.拨开，刺，戳；vi.戳，刺，捅，搜索，伸出，行动散慢 | |
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debris
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| n.瓦砾堆，废墟，碎片 | |
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drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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dummy
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| n.假的东西；(哄婴儿的)橡皮奶头 | |
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touching
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| adj.动人的，使人感伤的 | |
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bead
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| n.念珠；(pl.)珠子项链；水珠 | |
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beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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cuffs
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| n.袖口( cuff的名词复数 )v.掌打，拳打( cuff的第三人称单数 ) | |
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sags
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| 向下凹或中间下陷( sag的第三人称单数 )； 松弛或不整齐地悬着 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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shimmering
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| v.闪闪发光，发微光( shimmer的现在分词 ) | |
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replica
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| n.复制品 | |
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wreck
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| n.失事，遇难；沉船；vt.(船等)失事，遇难 | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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brittle
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| adj.易碎的；脆弱的；冷淡的；(声音)尖利的 | |
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supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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fragrance
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| n.芬芳，香味，香气 | |
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crease
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| n.折缝，褶痕，皱褶；v.(使)起皱 | |
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relic
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| n.神圣的遗物，遗迹，纪念物 | |
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revolved
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| v.（使）旋转( revolve的过去式和过去分词 )；细想 | |
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mildew
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| n.发霉；v.（使）发霉 | |
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flaked
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| 精疲力竭的，失去知觉的，睡去的 | |
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blues
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| n.抑郁，沮丧；布鲁斯音乐 | |
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35
projection
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| n.发射，计划，突出部分 | |
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formerly
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| adv.从前，以前 | |
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mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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drowsy
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| adj.昏昏欲睡的，令人发困的 | |
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41
projector
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| n.投影机，放映机，幻灯机 | |
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gadget
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| n.小巧的机械，精巧的装置，小玩意儿 | |
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wagons
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| n.四轮的运货马车( wagon的名词复数 )；铁路货车；小手推车 | |
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wagon
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| n.四轮马车，手推车，面包车；无盖运货列车 | |
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45
pedestrians
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| n.步行者( pedestrian的名词复数 ) | |
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46
visualize
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| vt.使看得见，使具体化，想象，设想 | |
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slanted
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| 有偏见的； 倾斜的 | |
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batch
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| n.一批(组，群)；一批生产量 | |
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trotting
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| 小跑，急走( trot的现在分词 )； 匆匆忙忙地走 | |
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revolving
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| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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52
spokes
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| n.（车轮的）辐条( spoke的名词复数 )；轮辐；破坏某人的计划；阻挠某人的行动 | |
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catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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dodging
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| n.避开，闪过，音调改变v.闪躲( dodge的现在分词 )；回避 | |
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darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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curb
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| n.场外证券市场，场外交易；vt.制止，抑制 | |
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grassy
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| adj.盖满草的；长满草的 | |
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hitching
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| 搭乘； （免费）搭乘他人之车( hitch的现在分词 )； 搭便车； 攀上； 跃上 | |
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infinitely
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| adv.无限地，无穷地 | |
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imminent
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| adj.即将发生的，临近的，逼近的 | |
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makers
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| n.制造者，制造商（maker的复数形式） | |
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sketching
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| n.草图 | |
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buffalo
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| n.(北美)野牛；(亚洲)水牛 | |
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steamships
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| n.汽船，大轮船( steamship的名词复数 ) | |
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cargo
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| n.(一只船或一架飞机运载的)货物 | |
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vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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inviting
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| adj.诱人的，引人注目的 | |
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physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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witty
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| adj.机智的，风趣的 | |
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outfit
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| n.（为特殊用途的）全套装备，全套服装 | |
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redeemable
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| 可赎回的，可补救的 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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middle-aged
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| adj.中年的 | |
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beets
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| 甜菜( beet的名词复数 )； 甜菜根； （因愤怒、难堪或觉得热而）脸红 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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preservatives
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| n.防腐剂( preservative的名词复数 ) | |
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additives
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| n.添加剂( additive的名词复数 ) | |
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distilled
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| adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 )；从…提取精华 | |
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hazed
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| v.（使）笼罩在薄雾中( haze的过去式和过去分词 )；戏弄，欺凌（新生等，有时作为加入美国大学生联谊会的条件） | |
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82
warehouse
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| n.仓库；vt.存入仓库 | |
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83
squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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pointed
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| adj.尖的，直截了当的 | |
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seafood
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| n.海产食品，海味，海鲜 | |
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awed
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| adj.充满敬畏的，表示敬畏的v.使敬畏，使惊惧( awe的过去式和过去分词 ) | |
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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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accustoming
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| v.（使）习惯于( accustom的现在分词 ) | |
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jumbled
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| adj.混乱的；杂乱的 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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hiss
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| v.发出嘶嘶声；发嘘声表示不满 | |
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fixture
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| n.固定设备；预定日期；比赛时间；定期存款 | |
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